MCN Columnists
Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

TIFF Review: Passione

I wasn’t quite sure what to expect of John Turturro‘s Passione, which is screening at TIFF in the Special Presentations category, but I couldn’t have been more pleasantly surprised by this engaging, colorful, music-drenched journey into the musical culture of Naples.

The documentary is about as non-traditional structurally as one could imagine (and I mean that in a good way). Turturro uses stunning musical numbers — think of them as very artsy, smart music videos of Napoli musical history — to explore the complex city’s rich musical culture. If you are completely ignorant of Naples, as I pretty much am, the film is a crash course in a fascinating culture overflowing with passion.

Turturro uses a wide array of musical performances in the film; past and contemporary artists including Sergio Bruni, Massimo Ranieri and Renata Carasonni (representing the Masters) and M’Barka Ben Taleb and James Senese (on-hand for the contemporaries), interspersed with regular folks singing on the streets (and a lot of them, even, have good voices … I was certainly impressed).

The musical numbers are beautifully staged; the music ranges from deeply moving love songs to humorous ditties to deeply political folk songs, and all of it reflects a people and a place that’s diverse for being occupied by so many cultures, and yet unique in its own personality.

A couple of the songs were real standouts for me (and I’m sorry I don’t have the titles so you can go look them up): One of the first songs in the film has two artists, a man and a woman, singing passionately about love and loss as they circle each other, even embrace while singing; another love song, we were told, was written by the artist to his wife, who left him after years of infidelity. I was also impressed by artist James Senese, so much so that I looked him up and bought some of his music for my iPod after the screening.

The film opens with a trio of aging recorded music vets who guide us through the colorful history of Napoli music as they argue, talk over and cajole each other and share with us their vast base of knowledge.

Also along to guide us — and provide some levity when needed — is Turturro, whose love and passion for the Italian culture is evident in every frame of the film. Turturro, who’s always a joy to watch on-screen, uses the city itself as his canvas, showing us the bedrooms, the alleyways, the public squares, the people, and the architecture to add texture to these stories told through song.

Passione is a love letter to a culture, a poetic journey through a history that includes the children fathered by American vets during the occupation following the Second World War, a people and a culture captured in the microcosm of music, all interwoven with the beauty of Naples as a city, both in its wealth and its poverty.

Turturro captures the essence of a culture in the same way that the songs themselves do — by sharing with us how the Napoli people live their lives, what values they hold dear, the way they live, love, fight and make love. It’s a lovely, original, fascinating film with a very arthouse feel, and richly satisfying to watch, particularly if you, as I, love music.

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5 Responses to “TIFF Review: Passione”

  1. Alessandro says:

    As a son of Neapolitan immigrants to the U.S., I have a great passion for the culture of Naples. The music is such an integral aspect of the culture of Naples and they has been a part of an international musical repetoire for over a century thanks to the greats like, Enrico Caruso and Luciano Pavarotti. Naples’ cultural patrimony has long been ignored and thanks to John Turturro it has been revived. I hope people go see this film and take back a better understanding of the rich culture of Naples.

  2. Carmela Circelli says:

    I too, a daughter of Neopolitan immigrants, was blow away by John Turturro’s Passione. I was ’emotionally transported’ and soulfully moved by such an original and beautiful presentation of much of the music I grew up with. I feel like I have always been waiting for this movie. I loved it.
    C.

  3. teresa formato says:

    When & where will this film be shown in New York? I’m dying to see it!

  4. fzzzzzzz says:

    Renato Carosone, not Renata Carasonni!

  5. Vivian Acerbo says:

    I also would like to know when this film (Passione) will
    be shown in the New York City area.
    Thank you,
    VIVIAN

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon